Introduction
This visual arts journal begins with the theme of Caribbean folklore, a rich tapestry of
myths, legends, and supernatural figures passed down through generations. Rooted in oral
traditions, Caribbean folklore blends African, Indigenous, European, and East Indian influences,
reflecting the region’s complex cultural history. Stories of spirits like the Soucouyant, Baccoo,
Kanaima, and Mami Wata are more than entertainment; they carry moral lessons, express
ancestral wisdom, and shape cultural identity. These tales continue to resonate today, serving as
a powerful link between past and present. Exploring this theme allows for a deeper
understanding of Caribbean heritage, particularly within my Guyanese background. In this
journal, I use painting, mixed media, and drawing to reflect on folklore, identity, cultural pride,
and self-expression. These themes help me connect personal emotion with shared history,
allowing each piece to tell a layered story. Painting adds vibrancy and boldness, mixed media
brings texture and symbolism, and drawing provides space for detail and introspection. Inspired
by Guyanese artist Roberto Teekah, whose dynamic work merges folklore with vibrant cultural
symbolism, I was encouraged to explore my own creative voice. This journal includes sketches,
completed artworks, and written reflections that document my journey and offer insight into the
meaning and process behind each piece.
Painting and/or Mixed Media
Reasons for Selecting Expressive Form: PAINTING & MIXED MEDIA
My reasons for choosing this expressive form stem from a childhood love for drawing and
storytelling, especially folklore. In secondary school, I was given more opportunities to explore
different techniques, and with encouragement from my teacher, I was introduced to expressive
forms like mixed media, painting, and drawing. These forms suit my theme perfectly, as they
allow me to blend textures, colors, and details to express emotions and complex ideas. This
journey has pushed me to grow creatively and technically, as I continue to develop my skills and
find new ways to create meaningful, visually striking pieces.
Background on Painting and/or Mixed Media
Painting is a timeless art form that involves applying pigment to a surface such as canvas, paper,
or wood to create images, express emotions, and tell stories. It has existed since prehistoric
times, with early examples found in cave art, and continues to be a powerful method of visual
communication across cultures. Throughout history, painting has been used in religious,
ceremonial, and decorative contexts, often reflecting the beliefs and identities of the people who
create it. In many cultures, including Indigenous, African, and Asian traditions, painting is
deeply connected to storytelling and heritage. In the Caribbean, and especially in Guyana,
painting remains a vital means of cultural expression. Artists like Roberto Teekah use it to
explore themes such as folklore, identity, and national pride. Through bold colour, symbolism,
and layered imagery, painting helps preserve tradition while also offering space for personal
reflection and creative freedom.
Artist: Roberto Teekah
Roberto Teekah a.k.a. Rio de Roberto is an internationally renowned costume designer,
interdisciplinary artist, and educator hailing from Guyana. Teekah's work consists of elaborate,
vibrant, colorful pieces inspired by myth, folklore, and cultural patterns. He is an alumnus of
Bishop's High and E.R. Burrowes School of Art. Teekah also provided his fashion designs for
the opening as well as the curatorial closing exhibitions of Moonlight Stories. He was also the
recipient of the Stephanie Correia Prize at the Guyana Annual Show. Teekah represents the
future of art and fashion in Guyana while fostering the growth of novice artists. As of early 2025,
he remains actively engaged in various creative endeavors that highlight his versatility and
commitment to cultural expression. In November 2024, he participated in the TVET Unit
National Visual Arts Exhibition, where he conducted Artist Talks on the 7th and 8th. These
sessions provided insights into his creative process and the significance of his art, offering
attendees a deeper understanding of his work.
Artist’s Work
Piece One
Title: Carnival Fever
Artist: Roberto Teekah
Medium: Acrylic Paint on Canvas
Size:
Year:
This powerful artwork depicts a dramatic contrast between two female figures
symbolizing cultural dominance and suppression. A pale, feather-adorned carnival figure looms
over a sorrowful Indigenous woman, her controlling embrace hinting at cultural erasure. Warm
colors, textured detail, and symbolic composition evoke intensity and imbalance. The piece
critiques the glorification of dominant cultures at the expense of Indigenous identity, making a
bold visual and emotional statement on power, loss, and resistance.
Piece Two
Title: We are Watching
Artist: Roberto Teekah
Medium: Acrylic Paint on Canvas
Size: *unknown*
Year: *unknown*
Divided into six vibrant panels, We are Watching vividly portrays iconic Caribbean
folklore figures, Soucouyant, Baccoo, Kanaima, Moongazer, and Mami Wata. Each spirit is
uniquely rendered with distinct colors, textures, and haunting gazes that create a sense of
spiritual surveillance. With strong visual contrast and cultural symbolism, the piece revives
ancestral narratives and explores themes of memory, mystery, and the enduring power of
Caribbean myth.
Piece Three
Title: *unknown*
Artist: Roberto Teekah
Medium: Acrylic Paint on Canvas
Size: 50cm x 60cm
Year:*unknown*
This surreal painting features a haunting purple figure marked by scars, chains, and
lifeless eyes, symbolizing trauma, captivity, and identity struggle. Surrounded by expressive
brushwork in muted tones, the unfinished portrait is painted by a young male artist, suggesting
introspection and ongoing transformation. The piece evokes deep emotional pain and societal
judgment, making a bold, unsettling commentary on suffering, self-perception, and post-colonial
realities.
Analysis
Roberto Teekah’s artwork powerfully explores themes of identity, culture, folklore, and
emotional struggle through bold, expressive visuals. He skillfully uses elements such as line,
colour, texture, and contrast to create depth and intensity, allowing each piece to communicate
layered meanings. Whether portraying the clash of cultures, the mystical presence of Caribbean
folklore, or the silent weight of personal pain, Teekah integrates symbolism to provoke reflection
on history, heritage, and the human condition. His work is both visually striking and emotionally
resonant, offering a compelling commentary on individual and collective identity within the
Caribbean context.
My Work
Piece One
Title: Ol’ Higue
Artist: Leikhshaya Lakhraj
Medium: Acrylic Paint and Oil Pastels on Canvas
Size: 40cm x 50cm
Year: 2024
Ol’ Higue is a haunting visual interpretation of Caribbean folklore, depicting the
legendary vampiric figure as a skinless, glowing entity cradling a baby. The eerie, night-time
setting and exposed anatomy of the figure highlight themes of vulnerability, fear, and the
supernatural.
STAGE 1
A 5H pencil was used to sketch and develop the contours of each object and Ol’ Higue in this
piece.
STAGE 2:
A light wash was used to carry out the technique known as underpainting. The colours were
selected based on the complementary colour scheme on a detailed colour wheel.
STAGE 3:
Light washes of colour were put down as foundation to build the colour to achieve the end look.
STAGE 4:
It was at this stage where I was unsatisfied with the outcome of the wall and decided to apply a
grey wash to the wall to make the blue of the wall less intense.
STAGE 5:
Corrections were made under the guidance of my talented teacher. Oil pastels and acrylic paints
work together to bring this piece out during this process. There is still some work to be done.
Piece Two
Title: Baron Samedi
Artist: Leikhshaya Lakhraj
Medium: Acrylic Paint and Oil Pastels on Canvas
Size: 40cm x 50cm
Year: 2024
Baron Samedi is a haunting and mystical painting that portrays the iconic Vodou spirit of
death as a skeleton dressed in a dapper suit and top hat, surrounded by ghostly figures under a
moonlit sky, symbolizing the bridge between the living and the dead.
STAGE 1:
A 5H pencil was used to sketch the contours of Baron Samedi and the chair on the canvas.
STAGE 2:
Underpainting was done to bring out colours in the progress photo as seen here. Acrylic paint
was used to add colour and depth to the suit, hat and the skull of Baron Samedi.
STAGE 3:
A black, to blue gradient was painted on to mimic a night sky.
STAGE 4:
The oil pastels were used to add highlights to add contrast to the figure.
STAGE 5:
More highlights were added in this stage, especially to the furniture, suit, and staff to add more
contrast, and to apparitions in the background to show the reflected colours to unify the piece.
Piece Three
STAGE 1:
An HB pencil was used to sketch the figure of Mama D’leau and the contours of her and the
seabed and the fish.
STAGE 2:
Acrylic and oil pastels were used to add colour and depth to the serpentine tail, coral, kelp and
the seabed. Some highlights were added to the fish scales and underbelly to “make them shine”.
STAGE 3:
Further details were added in acrylic as can be seen by the brain coral and on the body of Mama
D’leau to add contrast and to add depth to the piece.
STAGE 4:
A light blue wash and a pale yellow wash was used to add highlights to bring contrast to the
piece and to create the look of sunlight and the colour of the water reflecting off of objects which
is usually seen under water.
STAGE 5:
Strong highlights were added to the hip area of the tail and hair to create a stronger contrast.
Drawing
Reasons for Selecting Expressive Form: DRAWING
My choice of drawing as an expressive form stems from a childhood passion for sketching and
storytelling. In secondary school, this interest grew as I was given more opportunities to develop
my skills, especially with support from my teacher who introduced drawing as a key medium.
Using pencil, charcoal, and pastels allows me to bring imaginative ideas and emotions to life in a
simple yet powerful way. This form is well-suited to my themes of folklore and identity,
capturing detail and subtle expression. It also drives me to keep improving, pushing the limits of
my creativity and technique.
Background on Drawing
Drawing is a fundamental expressive form that uses lines and marks, often with pencil, charcoal,
ink, or pastel, to communicate ideas, emotions, and observations. It is one of the oldest forms of
art, dating back to prehistoric cave paintings in Lascaux, France, around 30,000 BCE. Ancient
civilizations like Egypt, Mesopotamia, and Greece used drawing for documentation, decoration,
and design, while the Renaissance saw artists like Leonardo da Vinci and Michelangelo use it to
study anatomy and composition. Across cultures, drawing has taken many forms, from African
tribal symbols to East Asian ink art. Today, drawing remains important in the Caribbean and
Guyana, where artists use it to explore identity, culture, and social themes. It continues to evolve
as a powerful and versatile means of expression.
Artist: Roberto Teekah
Roberto Teekah
Roberto Teekah a.k.a. Rio de Roberto is an internationally renowned costume designer,
interdisciplinary artist, and educator hailing from Guyana. Teekah's work consists of elaborate,
vibrant, colorful pieces inspired by myth, folklore, and cultural patterns. He is an alumnus of
Bishop's High and E.R. Burrowes School of Art. Teekah also provided his fashion designs for
the opening as well as the curatorial closing exhibitions of Moonlight Stories. He was also the
recipient of the Stephanie Correia Prize at the Guyana Annual Show. Teekah represents the
future of art and fashion in Guyana while fostering the growth of novice artists. As of early 2025,
he remains actively engaged in various creative endeavors that highlight his versatility and
commitment to cultural expression. In November 2024, he participated in the TVET Unit
National Visual Arts Exhibition, where he conducted Artist Talks on the 7th and 8th. These
sessions provided insights into his creative process and the significance of his art, offering
attendees a deeper understanding of his work.
Piece One
Title:
Artist: Roberto Teekah
Medium: Pen, Pencil, Coloured Pencil on Paper
Size: 21cm x 30cm
Year: 2020
This black ink drawing portrays a serene woman in traditional Indian attire
holding a diya, symbolizing Diwali's light and hope. With intricate details and fine
linework, the piece reflects cultural pride, feminine grace, and the spiritual essence of the
festival.
Piece Two
Title: “My Friend, Heidi”
Artist: Roberto Teekah
Medium: Pen, Pencil, Coloured Pencil on Paper
Size: 20cm x 25cm
Year: 2021
This pencil sketch features a serene young woman framed by leafy branches,
symbolizing growth, beauty, and feminine strength. Soft shading and delicate lines create
an intimate, graceful atmosphere, reflecting emotional connection and quiet confidence.
Piece Three
Title: “Born This Way”
Artist: Roberto Teekah
Medium: Pen, Pencil, Coloured Pencil on Paper
Size: 23cm x 28cm
Year: 2021
This black ink drawing, inspired by Lady Gaga, features a bold side-profile
portrait with flowing hair that blends into abstract patterns. With strong contrasts and
intricate linework, it explores themes of identity, transformation, and self-expression,
celebrating individuality and artistic freedom.
Analysis
Roberto Teekah’s drawings explore themes of identity, culture, spirituality, and self-
expression through the expert use of line, contrast, and detail. Line is a central element in his
work, from delicate pencil strokes to bold ink lines, which define form and create texture. He
balances and contrasts these elements to guide the viewer’s eye and create visual harmony.
Teekah’s use of symbolism deepens the emotional resonance of each piece, reflecting on themes
of personal growth, cultural heritage, and transformation. His work is visually captivating and
thought-provoking, inviting viewers to reflect on their own identities and experiences.
My Work
Piece One
Title: Offerings to the Baccoo
Artist: Leikhshaya Lakhraj
Medium: Graphite Pencil on Paper
Size:
Year: 2024
Offerings for the Baccoo is a pencil drawing that depicts a symbolic arrangement of
items, bananas, milk, a jar, and a glass, which are traditional offerings for the Baccoo, a
mischievous spirit in Caribbean folklore, placed carefully on a tabletop to evoke reverence and
mystery.
STAGE 1:
In this stage, tones were lightly sketched out to show where the lights and darks fall on each
object in the composition.
STAGE 2:
The contours of each object in the composition were more defined using a 5H pencil for outlines.
STAGE 3:
The shadows created by the banana and the wood block supporting it were etched in using a 4B
pencil.
STAGE 4:
The 4B pencil used in this stage added more definition and contrast to the objects in the
composition
STAGE 5:
A 4B pencil was used to add definition to each of the objects in the composition.
Piece Two
Title: Ol’ Higue
Artist: Leikhshaya Lakhraj
Medium: Graphite Pencil on Paper
Size:
Year: 2025
The image is a pencil drawing depicting a domestic scene with a closed door, a broom, a
mortar and pestle, a mat, and a bag labeled "Parboiled Rice." These elements reference
Caribbean folklore, where an Ol’ Higue, a supernatural old woman who sucks the blood of
infants, is thwarted by scattering rice or beaten with a broom at the door, as she is compelled to
count each grain or straw.
STAGE 1
The contours of each object in the composition were more defined using a 5H pencil for outlines.
STAGE 2
In this stage, tones were lightly sketched out to show where the lights and darks fall on each
object in the composition
STAGE 3
The shadows of the door have been etched using a 4B pencil.
STAGE 4
The shadows of the pointer broom have been etched using a 4B pencil.
STAGE 5
A 4B pencil was used to add definition to each of the objects in the composition.
Piece Three
Title: Tales of Anansi
Artist: Leikhshaya Lakhraj
Medium: Graphite Pencil on Paper
Size:
Year: 2025
This pencil drawing, titled Tales of Anansi, features a stack of books covered in cobwebs,
with a spider prominently displayed, both on the box and within the web. One of the books bears
the name “Anansi,” referencing the famed West African and Caribbean folklore character, a
clever spider known for his storytelling and trickery.
STAGE 1
The contours of the composition were sketched out with a 5H pencil.
STAGE 2
The lights and darks of the bottom book were etched in using a 4B pencil.
STAGE 3
More shading was added to the other books and the wooden blocks using a 4B pencil.
STAGE 4
More details on the fabric underneath the composition were sketched and shaded in.
STAGE 5
Cobwebs were added using a 5H pencil and an eraser.
Comparative Analysis
When comparing my artwork with Roberto Teekah’s, there are strong similarities in
theme and medium, though differences in style, colour, and technique are also evident. Both
Teekah and I explore Caribbean folklore, using figures and symbolic imagery to highlight
cultural narratives. For example, his piece We Are Watching and my paintings Ol’ Higue, Baron
Samedi, and Mama D’Leau all portray folkloric characters, reflecting our shared interest in
telling stories rooted in regional identity and tradition.
In terms of medium, we both use pencil for drawing and acrylics for painting. Teekah’s
drawings, such as Born This Way and My Friend Heidi, are detailed and often enhanced with pen
and ink to emphasize lines and contrast. Similarly, I use pencil to explore tonal depth in my
drawings but extend the medium further by using coloured pencils in works like My Friend,
allowing me to add warmth and highlight emotional aspects of the portrait.
In painting, both of us favour acrylics, but our styles and techniques vary. Teekah often
uses smooth gradients and bold colours to create clean, vibrant compositions. In contrast, my
approach involves layering oil pastels over acrylics, especially in Baron Samedi, to create texture
and enhance dramatic elements. This helps me emphasize mood and adds a tactile quality to the
surface of the painting.
Stylistically, Teekah’s work leans more towards realism and symbolism, with precise
forms and careful composition. My style is more expressive and semi-abstract. I experiment with
distortion and unconventional colour palettes, particularly in Ol’ Higue, where I use surrealism
to heighten the emotional tone and mystery of the folklore figure. This difference in approach
reflects how we individually interpret Caribbean mythology, his being more refined and
symbolic, mine more experimental and interpretive.
Despite these differences, our shared use of cultural themes and traditional media reveals
a common goal: to honour and visually preserve Caribbean heritage. Our unique techniques
show that folklore can be interpreted in various styles while maintaining its cultural significance.
Teekah’s influence has helped me refine my own practice, especially in portraiture and
storytelling through visual art.
Reflection
My progress as an art student has been significant, especially over the last two years. While I
was always confident in my ability to succeed in art, the support of my teacher helped me grow
through challenges and stay focused. I also played an important role in helping my classmates
develop their ideas, and they did the same for me. This shared experience made my creative
process enjoyable and meaningful. I have gained a lot from exploring the two expressive forms
of painting and drawing. Through this, I developed not only technical skills but also a deeper
understanding of Caribbean folklore, which became a central theme in my artwork. A major
highlight was studying the work of Roberto Teekah, whose pieces share a similar subject matter
and medium with mine. Comparing my work with his helped me see the progress I’ve made,
especially in how I use colour, texture, and symbolism to express cultural themes. One of the
most exciting parts of this journey was meeting and learning from well-known Guyanese artists
like Roberto Teekah. His guidance and example were very motivating. Working closely with his
techniques and receiving positive feedback helped me improve both my painting and drawing
skills. Inspired by this experience, my goal is to attend the Burrowes School of Art and continue
learning from great artists like Teekah. Their passion and dedication have encouraged me to
pursue art seriously, and I hope to one day inspire others just as they inspired me.
Glossary
Acrylics: Quick-drying paint known for bright colours and versatility.
Baron Samedi: A voodoo spirit of death, shown with a skull face and top hat.
Caribbean Folklore: Traditional Caribbean stories with supernatural and moral themes.
Colour Scheme: An arrangement of colours to create mood or focus in art.
Contrast: Opposing elements used to make parts of artwork stand out.
Cultural Identity: Expression of cultural belonging through art and symbolism.
Drawing: Creating images using lines and shading with tools like pencil or ink.
Expressive Forms: Different art methods used to share ideas and emotions.
Folklore: Stories and beliefs passed down orally, often with mythical figures.
Mama D’Leau: A mermaid-like spirit from Caribbean folklore who lures people to water.
Mixed Media: Combining multiple art materials in one piece.
Ol’ Higue: A folklore figure, an old woman who preys on infants at night.
Painting: Applying pigment to a surface using brushes and various mediums.
Semi-Abstract: Art that simplifies real forms but keeps them recognizable.
Symbolism: Using visuals to represent deeper meanings or cultural ideas.
Texture: The feel or visual appearance of a surface in artwork.
Visual Storytelling: Using images to tell a story or share cultural themes.
References
“Artist Roberto Teekah Adds Fashion Designing to His List of Talents - Guyana
Chronicle.” Guyana Chronicle, 9 Dec. 2022,
guyanachronicle.com/2022/12/09/artist-roberto-tiwari-adds-fashion-designing-to-
his-list-of-talents/. Accessed 30 Apr. 2025.
art. “Seeing Art as an Escape from the Real World, Roberto Teekah Lives to Paint.”
Guyana Standard, 21 Apr. 2019, www.guyanastandard.com/2019/04/21/seeing-art-
as-an-escape-of-the-real-world-roberto-teeakh-lives-to-paint/. Accessed 30 Apr.
2025.
JH@Quelpr. “CSEC English B: Ol’ Higue by Mark McWatt Poem Analysis.” Quelpr, 25
June 2020, www.quelpr.com/post/csec-english-b-ol-higue-by-mark-mcwatt-poem-
analysis. Accessed 30 Apr. 2025.
Khadija Tauseef. “Baron Samedi and the Voodoo Loa of Haiti.” Ancient Origins
Reconstructing the Story of Humanity’s Past, Ancient Origins, 29 Apr. 2022,
www.ancient-origins.net/history-ancient-traditions/baron-samedi-0016698.
Accessed 30 Apr. 2025.
“MAMA D’LEAU - Mythologies of the World.” Mythologies of the World, 8 Mar. 2024,
mythologiesoftheworld.com/mythologies/mama-dleau/. Accessed 30 Apr. 2025.
Appendix
Henna done as a birthday present for my friend, Malia
Henna done out of boredom on New Year’s Eve
A painting and mixed media piece, “Clara” from the Nutcracker
“Emotions Through Flowers”, a piece done during a CSEC UG art program
A drawing of a turtle and a butterfly
A drawing from a popular photograph shared on social media
Table of Content
Introduction…………………………………………………………………………………………………
Drawing…………………….………………………………………………………………………………
- Reasons for Selecting Expressive Form: DRAWING…………………………….……………………..
- Background on Drawing………………..……………………………………………………………….
- Artist: Roberto Teekah…………………………………………………………………………………..
- Artist’s Work…………………………………………………………………………………………….
→ Piece
One…………………………………………………………………………………………….
→ Piece
Two…………………………………………………………………………………………….
→ Piece
Three……………………………………………………………………………………………
- Analyses…………………………………………………………………………………………………
→ Piece
One……………………………………………………………………………………………..
→ Piece
Two…………………………………………………………………………………………….
→ Piece
Three…………………………………………………………………………………………..
- My Work………………………………………………………………………………………………..
→ First
Piece……………………………………………………………………………………………
→ Second
Piece…………………………………………………………………………………………
→ Third
Piece…………………………………………………………………………………………..
Painting & Mixed Media…………………………………………………………………………………
- Reasons for Selecting Expressive Form: PAINTING & MIXED MEDIA…………………………….
- Background on Painting & Mixed Media………………………………………………………………….
- Artist: Roberto Teekah…………………………………………………………………………………
- Artist’s Work……………………………………………………………………………………………
→ Piece
One……………………………………………………………………………………………
→ Piece
Two……………………………………………………………………………………………
→ Piece
Three………………………………………………………………………………………….
- Analyses………………………………………………………………………………………………..
→ Piece
One……………………………………………………………………………………………
→ Piece
Two……………………………………………………………………………………………
→ Piece
Three………………………………………………………………………………………….
- My Work……………………………………………………………………………………………….
→ First
Piece…………………………………………………………………………………………...
→ Second
Piece………………………………………………………………………………………..
→ Third
Piece………………………………………………………………………………………….
Comparative Analysis……………………………………………………………………………………
Reflection…………………………………………………………………………………………………
Glossary…………………………………………………………………………………………………..
References………………………………………………………………………………………………..
Appendix…………………………………………………………………………………………………
